Word: scenes
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Dates: during 1990-1999
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...jealousy and wounded pride proves a dangerous intoxicant; Bartelby later rebukes God, drunk with self-importance. It is this egotism that is God's foe, growing stronger with every ill-conceived rationalization Bartelby spews, until it is of Luciferian proportions. Not until the theophany of the last scene does the sight of the kind, matriarchal God reminds us that Bartelby's self-deification is something other than prideit is frustration with the fact that God loves him differently than She loves man. And we feel for Bartelby,, who is at last a soulful child, vying for the adoration...
...that raucous spirit that we see a series of modifications: The Crawfords, Austen's villains, are noticeably less distasteful and quite unabashedly sexual; in general, characters are more unguardedly flirtatious, witticisms a little sharper, plot changes less subtle; and crowning it all is the "sex scene". The infidelity discovered via implication in a letter in Austens novel becomes a visual, shocking debacle in the film, quite in character with the brash nature of the adaptation. Amazingly, the director has planned her story in a way that makes this acceptable by keeping with her more open, admittedly "extreme" tone throughout...
...arts scene at Harvard has seen a proliferation in the number of dance groups on campus. One such group are the Gumboots dancers. Affiliated with the Harvard African Students Association (HASA), the Gumboots dancers celebrate a dance that orginated in South Africa. In their free time, miners "discovered" the musical potential of their workboots and slapped and clapped in rhythm. This pastime then evolved into a more intricate step-dance. One dancer, Karin Alexander '02, says that "the story of the gumboot fits into the wonderful, though pain-ridden, history of our continent. The dance expresses all of that...
...There is a certain severity beneath the lighthearted attitude the movie adopts--not every scene is a humorous denial of the life or death crisis the shtetl faces. The villager elected to play the head fake Nazi goes through his own psychological crisis, and the whole ordeal seems to sorely test the shtetl's religious faith. Even as the shtetl is fleeing death, it runs straight into its own humanity. The most serious crisis in the movie occurs not when they are dealing with real Nazis or are otherwise close to disaster, but when they explicitly ask if God exists...
...What do you think about the college music scene in America...